Coal Mine Theatre presents 'Knives in Hens' - review by Joe Szek

By Joe Szekeres

In her Director’s Note, Leora Morris writes, “It is not surprising to me that David Harrower wrote ‘Knives in Hens’ under somewhat of a spell.” The word spell caught my attention as I had feelings of unease within me about actions and their consequences at the conclusion of the play. I did a quick bit of online research to see if I could learn more about the title of the play itself, and I found this in the Drama Online Library website link:

 “Knives in Hens is a brutal fable of awakening consciousness, a study of sex and knowledge that is stark and fierce.”

The term brutal fable caught my eye immediately because the play is brutal at times to watch and to hear. Coal Mine’s extraordinarily remarkable handling of such controversial material in the capable hands of Leora Morris riveted me to pay close attention to this 80-minute production without intermission. I’ll admit I still have some questions about the text as it is rich with layered meaning and context.

No time has been specified in this play which takes place in a rural Scottish setting, yet I’m thinking it might be an ancient world.  Superstition dominated the lives of these people where prejudice is taken to be religion. The Young Woman (Diana Bentley) is married to Pony William (Jim Mezon), the village ploughman who has a strong connection and affinity with horses. As the story progresses, the Young Woman lustily falls for the miller Gilbert Horn (Jonathon Young) whom she has been told to despise.

Without caring one iota, Gilbert tells the Woman about her affair with a local girl.  The Young Woman then begins a plan of vengeance against her husband.

The intimate environment of The Coal Mine Theatre is effectively suitable for playwright Harrower’s story. Within this close setting, no one in the audience can’t look away or ignore the stark setting and raw subject material presented in a fiercely visceral manner. Kaitlin Hickey’s ‘theatre in the round’ set design was a good choice to make as the actors make entrances and exits from both sides of the auditorium.

There is a squared space for the playing area which appears to be filled with a kind of soil and sand. Stage of the space is slightly elevated. The stage right wall has a large circular hole. A square stool sits just slightly off-centre right. Barnboard is found at the back of both sides of the seating area. From my seat, one of the doors that is covered in barnboard when lit becomes the outside of the horse stall. Very effective.

Ms. Hickey’s lighting design is sharply focused when necessary for the various monologues. 

Christopher Ross-Ewart’s sound design is jarring and surreal. At the top of the show we are presented with an eerie feeling of dread in the accompanying music.

What highly impresses me about Coal Mine is the company’s selection of works that are edgy, confrontational and in your face, which makes good theatre. The dialogue and words in the script say a great deal without saying a lot. There are magnetic and electrifying pauses from all three actors where my breath was held in wondering how the other person would respond. If we are still thinking about the production the next day, then the production has set out what it intended to do for me – to make me think and to make me question.

These three skilled actors gallantly command the stage and handle the language of the text solidly. As the Young Woman, Diana Bentley assumes her characterization with exact precision.  The Young Woman may not understand figurative language initially, but she truly cares about the well being of her older husband, Pony William. When Gilbert makes possible reference to Pony’s affair with a local girl, Ms. Bentley reminded me so much of Lady Macbeth in wanting to achieve what the Young Woman absolutely wants – a seething vindication in discovering words against a philandering husband with the handsome miller. It suddenly dawned on me that ‘Knives in Hens’ is also a story of female empowerment.

Messrs. Jim Mezon and Jonathon Young are just as solid as Ms. Bentley but offer different understanding of manhood. Mr. Mezon’s Pony William appears quite fatherly in my first impression which worked well in this context as there is no specific time or year allotment. In an alarming turn of events, Pony William turns violent towards the Young Woman in wanting to keep his wife away from the horses.  Just by his voice alone off stage, Mr. Mezon’s full bodied presence resonated strongly on stage which allowed Ms. Bentley some wonderful silent emotional reaction. 

Mr. Young’s Gilbert Horn strongly emphasizes sadness as his wife and child are dead. Nevertheless, Mr. Young utilizes this sadness to tantalizes and to tempt the Young Woman in a calculated manner. The lustful moments of passion are fierce as we see a woman who wantonly commits adultery on her husband. Conversely, the jolting conclusion involving the Miller’s actions at the end left me shocked with his behaviour. 

FINAL COMMENTS: Once again, a strongly evocative production of passion, desire and longing with consequences. I’m sure there will be talk backs with the actors after future performances. I wish there was one on this opening night.

‘Knives in Hens’ by David Harrower continues to October 13, 2019 at 1454 Danforth Avenue, Toronto. For further information, please visit the website.

Rocky Horror Show at Hart House - review by Joe

By Joe Szekeres

Surprisingly, I’m not tired of doing ‘The Time Warp’.  I don’t believe ‘Rocky Horror’ is dated (at least not yet) as a solid production takes creativity and ingenuity in order to make it work for a twenty first century audience.

Director Jennifer Walls has taken her creativity and ingenuity to the highest degree in working with her artistic team to make this staging of ‘Rocky’ a most enjoyable afternoon or evening of entertainment.  And the result is a flashy, dash around, grab ‘em (literally, by the way) and nab ‘em science fiction spoof of a cheesy and improbable story carried out by a sixteen person cast, and four band members, who threw caution to the wind and just want to have fun.

And that fun was transferred to the audience, just as it had been done at The Stratford Festival last summer. Some audience members came dressed which also added to the fun. Not me.  Too old for that.

Katie Miller as Janet and Chiano Panth as Rocky. Photo by Scott Gorman.

Brad (William Mackenzie) and Janet (Katie Miller) have declared their love for each other.  The garish narrator (a jaw dropping, electric performance by Heidi Michelle Thomas) tells the story how our heroic couple ends up at the castle of Frank ‘N’ Furter (wonderful comic work by Chris Tsujiuchi) and his collection of misfit, ghoulish, miscreant residents who are having one hell of a good time.

There is so much to like about this production. It’s a bare stage in entering the auditorium save for two vertical light banks and a closed red curtain from which we can see two part of a lower staircase.  But when the curtain opens to reveal the castle – WOW!! Brandon Kleiman’s set design of an alien setting with gold shiny flats and triangles is pure eye candy. Jeremy Hutton’s work in sound design is solid as there are so many cues that must be in place for the comic effect. For the most part, it was nice to hear the lyrics to the songs, but there is the odd moment where the sound balance is off between the singer(s) and the band. Kathleen Black and Bebe Brunjes’ costume and makeup designs are gaudily and provocatively ripped and torn in all places which create an equally attractive and repulsive simultaneously. Brunjes’ makeup nicely accentuates the actors’ faces and their individual character traits while not bordering on a crass look.

Giustin MacLean and Stephan Dickson’s respective work in music direction and choreography is one of the keys to the success of this show. They deliver the goods in spades in working with this talented cast. One of the highlights of the first act is ‘The Time Warp’ with kick ass rock voices of Ian Backstrom as Riff Raff, Rachel Hart as Magenta, Heidi Michelle Thomas as the Narrator, Becka Jay as Columbia and the Phantoms. Mr. Dickson use every inch of the stage to maximum effect during this number. ‘Hot Patottie’ with Eddie (another dynamite rock voice of Aaron Cadesky), a former lover of Frank ‘N’ Furter’s also brought the house down.  

As Rocky, Frank’s ‘perfect’ man, Chiano Panth has the ripped six pack and abs necessary to keep his master’s interest and eventually, Janet’s. Mr. Panth’s singing voice isn’t quite as strong as the other principal players, but he more than makes up for it with the comic moments he shares with the others.

I attended the talkback session after the first Saturday night performance. This is where I learned a great deal more about why Jennifer Walls wanted to stage this production. If there are other talk back sessions post performance, I strongly urge you to attend them to learn more about what makes this show work.

Ms. Walls wanted this production to have a Toronto ‘feel’ to it. How did she do that?  She went against traditional casting of ‘Rocky Horror’. For example, she cast Natasha Buckeridge as Dr. Everett Scott instead. Ms. Buckeridge can certainly carry a tune especially in the ‘Floor Show’ Act 2 number. Her make up mustache, however, was just a tad too cheesy for me. 

Additionally, in her Director’s Note, Ms. Walls wanted “the opportunity to bring this show…to a new audience and new artists, providing a safe and supportive space for performers of all skill levels, body types and backgrounds.” I wholeheartedly agree. The company members looked extremely comfortable in many of the suggestive movements and dance numbers so kudos to Intimacy Coach Nate Bitton.

The show must also stand on who has been cast as Frank ‘N’ Furter. I’ve seen several productions where the central character mirrors Tim Curry’s body type. At the talk back, Chris Tsujiuchi spoke about how he made the character his own since he blatantly stated that he doesn’t have the physical appearance at all of Tim Curry’s characterization. 

While he might not have the moves that Curry and the cast were doing in the show, Mr. Tsujiuchi more than makes up for it in his unique characterization of the comic elements. Tsujiuchi used silent pauses and glances for comic effect. He was also adept at improvisation especially as the audience hurls insults and comments at the on-stage action.

FINAL COMMENTS: It has been several years since I’ve attended a production at Hart House and had forgotten just how wonderful of a ‘underground’ performance space it is. Most importantly, the theatre has been a starting point for a few notable Canadian actors – Donald Sutherland is one example.  

‘The Rocky Horror Show’ worked extremely well here, and I wouldn’t be surprised if a number of these performers in this show move on to larger spaces. 

It’s fun. Get to see it.

‘The Rocky Horror Show’ continues to October 12 at Hart House Theatre, Toronto. For more information check their website.

Borelians' presents 'Renovations' at Town Hall 1873 - preview by Joe Szekeres

By Joe Szekeres

Growth and change are inevitable parts in all our lives. With growth and change come renovations. I just recently learned that Town Hall 1873, Port Perry, will change its name to Town Hall Theatre.

How appropriate the first production of the upcoming Borelians’ 49th theatre season will feature, in its title, changes going on at the Town Hall.

‘RENOVATIONS’ a comedy by Sunderland resident and Borelians member, Graeme Powell, is the hilarious and heartwarming story of Brent (Jay DaCosta) and Jenny (Sam Smilovic), a young couple amid renovating an old Victorian house in a small, southern Ontario town. Initially all seems well: they are madly in love with each other while meeting some very ‘interesting’ neighbours. As the story progresses, there are cracks in more than just the plaster of their home. Soon, the past and future begin to exert pressure.

Producer and first-time director of this upcoming production is Borelians member Amy Caughlin.

This is not the first time ‘RENOVATIONS’ has been staged in the Durham Region. The original production in 2014 was presented by Onstage Uxbridge and directed by Borelians’ members (and husband and wife) Annette Stokes and Michael Serres.  Amy Caughlin was the producer of the show at that time. For this original production, Bryan Mailey won a Thea for the spectacular set in Uxbridge and has agreed once again to build the specs in the script while still creating something a bit different and new in the Town Hall Theatre. 

Why re-stage the show again five years later? Ms. Caughlin says:

“After the box office success of ‘Palmer Park’ this year, the Borelians Board of Directors decided to bring ‘RENOVATIONS’ home since playwright Graeme Powell for years was the heart of the community group. The Borelians felt it really should have been them to premiere ‘RENOVATIONS’ and wanted to rectify what they saw as a missed opportunity.

Caughlin volunteered when the Board began looking for a director of the production since she has always wanted to try her hand at directing. Her familiarity with ‘RENOVATIONS’ and her fondness for the story would make it a good first outing because she believes “It is Graeme’s best play – It has humour, but also a lot of heart!”

Casting for this new production brought a bit of initial worry about finding the right people for Caughlin.  Her involvement in the original production made it hard for her to separate some of the character roles from the actors who originated them. When she held auditions, Ms. Caughlin felt they were a revelation for her as, in a couple of cases, the actors convinced her to go in another direction with the character. Additionally, Ms. Caughlin is extremely happy with the casting as she was very fortunate to get so many talented actors to come out and who want to get off their scripts so they can do more.

Have there been challenges to overcome during the rehearsal process for Caughlin?  Obviously, there will always be:

“One of the challenges has been to figure out which elements of the original staging in Uxbridge were permanent – something that should be incorporated in the stage directions of all future productions. This is one of the interesting aspects about working with a playwright directly. Some things start as set dressing or framing ideas from the director but become an integral part of the production.”

At this time, playwright Graeme Powell has not attended any rehearsals.  According to Caughlin, Powell is aware and approves the final casting. Summer rehearsals have taken place after hours at the Scugog Public Library, which is not ideal for dropping by. Caughlin told me that Powell came to most rehearsals during the original production in 2014, made some additional tweaks after the show wrapped, and now sees his script as a fairly polished version.  Amy and her cast heartily agree.

Caughlin and the cast hope that audiences will walk away from ‘RENOVATIONS’ with the message that we are all ‘works in progress’ and that renovations to ourselves and our relationships are never complete. While the play is very funny, Caughlin believes the characters within the script are almost painfully real – even the oddball characters – and they are not farcical at all. If anything, there is a great deal of humanity within the story.

Joining Jay DaCosta (from Brock) and Sam Smilovic (from Oshawa) on stage are David Geene (Peterborough), Lee Laycoe (Port Perry), Mike Doucette (Whitby), Onella de Zilva (Oshawa), Alexandra Hines (Port Perry) and Howard Linscott (Port Perry).

‘RENOVATIONS’ will play at the Town Hall Theatre, 302 Queen Street, Port Perry, October 10, 11, 12, 17, 18, 19 at 8 pm and October 12 and 19 at 2 pm. There is a Gala performance Friday October 11 where there will be beer, wine and refreshments prior to the performance and a discussion with the director and cast following the curtain call.

Tickets are available via the website. To learn more about The Borelians, visit their website.

Mirvish Theatre's 2019-2020 season - preview by Joe Szek

By Joe Szekeres

An anticipatory buzz of excitement hovered at the Ed Mirvish Theatre Tuesday, Sep 24 2019, for the Mirvish 2019-2020 Theatre Subscription Launch. With twenty-four different shows in six different venues, theatre loving people will be in their glory for this upcoming season.

And four of these shows set box office record in the 1980s and 1990s. Here’s hoping lightning will strike twice again:

‘Cats’ returns to The Princess of Wales November 27, 2019 – January 5, 2020; ‘The Phantom of the Opera’ will play at The Princess of Wales January 8, - February 2, 2020; ‘Miss Saigon’ will play at The Princess of Wales May 5 – June 24, 2020; ‘Les Miserables’ will play at The Princess of Wales June – August 2020.

One of my all-time favourites, ‘Come From Away’, will reopen December 13, 2019 at the Royal Alexandria Theatre from its current home at the Elgin Theatre. And speaking of David Hein and Irene Sankoff who penned this wonderful musical, there is a benefit concert of their production ‘My Mother’s Lesbian Jewish Wiccan Wedding’, January 19, 2020, a quirky, rather odd title I remembered from the 1990s but never saw it. It will play at the Royal Alexandra Theatre for one night.

Nevertheless, I was also intrigued and inspired to see some production titles that piqued my curiosity. I had heard of these titles whether they played in New York or London’s West End.

Ok, I’m sure we’ve all heard about the musical phenomenon ‘Hamilton’ that’s killing box office wherever it opens. It opens February 11 – May 17, 2020 at The Ed Mirvish Theatre. I saw ‘Hello, Dolly!’ in NYC last April when Bernadette Peters played the title play. This touring company rolls into The Princess of Wales March 24 – May 3, 2020. For some reason, ‘Anastasia’ didn’t really interest me at all, yet the trailer that was played at the season launch made me give it another look. It runs December 3, 2019 – January 12, 2029 at the Ed Mirvish Theatre. ‘Mandy Patinkin In Concert: Diaries’ runs November 12 and 14 at The Ed Mirvish Theatre. ‘Mozart’s Don Giovanni’ runs October 31, 2019 – November 9, 2019 at The Ed Mirvish Theatre.

Illusionists productions have always amazed me in trying to figure out how it’s done. ‘The Illusionists – Magic of the Holidays’ runs January 1 – 5, 2020 at Meridian Hall (formerly Sony Centre or for the old timers like me, The O’Keefe Centre). For those who love Celtic music and the Irish culture, ‘Riverdance: The 25th Anniversary Show’ returns February 25 – March 1, 2020 at The Princess of Wales. For comedy and laughs, The Second City’s ‘She The People’ runs at The CAA Theatre, February 4 – 9, 2020.

Two dynamos of the Canadian music theatre – Louise Pitre and Jayne Lewis – will appear in Piaf/Dietrich, the story of two of the greatest names in show business (Edith Piaf and Marlene Dietrich) which will open September 26 – December 8, 2019 at the CAA Theatre. For lovers of Bob Dylan’s music, ‘Girl from the North Country’ is the Canadian premiere September 28 – November 24, 2019 at the Princess of Wales Theatre. For those music lovers of Simon and Garfunkel, ‘The Simon & Garfunkel Story’ opens May 26 – June 14, 2020 at the CAA Theatre. Disco loving fans will be in full bloom with ‘Summer: The Donna Summer Musical’ March 10 – 22, 2020 at The Princess of Wales Theatre.

Finally, I have heard of some of these titles and some absolutely nothing. And yet, this is the glory, mystique and wonder of live theatre. Let’s just go and experience it for ourselves:

‘Us/Them’ (a sell out at the Edinburgh Fringe and London’s National Theatre) opens February 27 – March 15, 2020 at the CAA Theatre. ‘Room’ (which was a novel and film) opens April 4 – 26, 2020 at the CAA Theatre. The Toronto premiere of ‘Indecent’ opens May 5 – 24, 2020 at the CAA Theatre. ‘6 Guitars’ opens March 24 – 29, 2020 at the CAA Theatre.

A veritable charcuterie theatrical smorgasbord of all tastes and talents. What an exciting and interesting season. I, for one, am looking forward to it.

For more information see their website.

Pump up the volume - Joe Szek reviews '80s play 'The Heidi Chronicles' at Alumnae

By Joe Szekeres

For its’ 102 season, Alumnae Theatre has chosen to stage Wendy Wasserstein’s ‘The Heidi Chronicles’ with the theme of ‘awakenings’ for its 2019/2020 season. 

This was a smart decision on the part of the Alumnae’s Board of Directors. Why? As Mayor John Tory wrote aptly in his Mayor’s Note: “I commend the theatre for using the stage as a platform that promotes our city’s diversity and inclusiveness [featuring] the production of adventurous theatre and skill development of women in theatre.”

The skill development of women is significant in Wasserstein’s 1988 text. It’s not a ‘chick play’. Although it might appear dated, Director Ilana Linden still believes the play is relevant today and I would agree with her. Yes, women have made strides since 1988; however, as we sadly see in our world today, women are still having to, as Ms. Linden says, “mitigate sadness and bitterness as time and our responsibilities chip away at our youthful ideals. [Women can still] enjoy both successful careers and a fulfilling family life with husbands [or sometimes not] and children, and we realize that life will not bring us everything we had hoped for.”

Since I’m still new in attending shows at Alumnae, I’m always impressed with the initiative and involvement of so many unsung heroes behind the stage who create theatre magic. It continues here in the fine look of Wasserstein’s play. 

Alumnae’s opening night production has nicely captured the zeitgeist of the 1980s. The splashes of vibrant colour in Teodoro Dragonieri’s set design of squares and cubes painted on the floor and on some of the risers are a wonderful throwback to the era. Joan Jamieson’s costume design beautifully reflect the era for the women and the men. I remembered wearing some of those shirts the men wore as well, that’s how old I am. Nathan Bruce’s selection of preshow music and scene change music evoked the 80s. One of the challenges in staging ‘The Heidi Chronicles’ is the number of blackouts for scene changes. Elaine Freedman’s projection designs of selected major events from the 70s – 90s helped to focus our attention while set pieces were moved around. As performances continue, I’m sure these set changes will get tighter to help keep the pace of the show moving.

‘The Heidi Chronicles’ is not easy to stage by any means as central character Heidi Holland must mature before our eyes in a realistic and natural manner. I felt this was captured effectively for the most part when I could hear the dialogue.  Following Heidi’s lecture at the top of the show, I had difficulty in hearing the dialogue clearly from the women in the next scene and I lost a great deal of their discussion. Please enunciate clearly, ladies, as it was very frustrating not to be able to hear what you were saying. The same thing occurred again at the baby shower as enunciation was not clear to this ol’ guy’s ears.

As central character Heidi Holland, Breanna Dillon had a remarkable Cynthia Nixon look. Ms. Dillon is an affable and likeable Heidi who sees so much going on around her from her friends getting married and having children to wondering what also lies in store for her. Heidi initially looks to two men to help define who she is, the arrogant, condescending, childish, womanizer, Scoop (soundly played by Daniel Jones). Heidi also allows into her life the sometimes-cynical smartass comment, gay pediatrician, Peter (a solid performance by Eitan Shalmon). Yes, these men do help to shape the woman whom Heidi becomes by the end of the play, but she does not allow them to control her destiny which is clear in the second act in a moving moment on Christmas Eve between Ms. Dillon and Mr. Shalmon. Very nice work on both parts. 

Supporting actors in the production (Joyce Chan-Barretta, Brianna Diodati, Rebecca MacDonald, Noah Sisson and Nadine Charleson) are other sound influences on Heidi’s life. The Act 2 scene in the restaurant where Heidi’s two phony, air kissing dining companions who show no interest in her but only how important they look is terrifically staged and makes its obvious comment about changing views of women. The television segment in Act two pinpoints exactly what Heidi feels about what has gone on in her life. Scoop and Peter monopolize the on-air conversation, and Ms. Dillon’s silent, glaring looks at both men and her ripping into them after was handled terrifically.

Final Comments: For ‘The Heidi Chronicles’ to make its statement, we have to be able to hear and follow every word of the dialogue.  At the intermission, a gentleman came up to me and asked how I was liking the show. He said he thought it was good when it could hear it. Let’s hope this slight quibble will be rectified for future performances.

‘The Heidi Chronicles’ continues to October 5, 2019 at the Alumnae Theatre, 70 Berkeley Street, Toronto. For tickets, visit the website.